Reviżjonijiet tal-Produzzjoni Passata
7Vocally, there was a great deal to admire. The opera can hardly be considered anyone’s favourite Verdi, but is certainly a fine vehicle for Verdian voices. Christian Gerhaher, best known for Schubert Lieder and modern works, sang the role for the first time last year, and I felt that – fine as a singer he undoubtedly is – he is not quite right for Simon. Tézier’s rich, deep voice is, however, simply perfect for the role, and each note a feast for the ears. Gerhaher may be the more nuanced actor, but give me the voice each time. Jennifer Rowley continued to impress as Amelia after a slightly bumpy start – top notes spot on. Christof Fischesser was in very fine voice, his low notes always something to look forward to. The strong baritone of Nicholas Brownlee as Paolo added to the excellent vocal mix. Brent Michael Smith as Pietro was a firm bass. The sextet at the end of Act I was glorious.
Marco Armiliato led the Philharmonia Zürich in a very energetic rendition, at times with a heavy hand. This was especially noticeable in the cavatina of the soprano “Come in quest’ora bruna”, where the orchestra “rolls”, imitating the waves of the sea. Here, the result was more a train running over the delicate, sweet rendition of Jennifer Rowley (Amelia). Globally, however, the orchestra was exciting and engaging, with sweeping phrasing and remarkable brass sound.
George Petean sang mit weich timbrierten und kultiviertem Bariton einen mitreissenden Macbeth, dessen ausgezeichnete Technik und markante Bühnenpräsenz insbesondere in der grossen Szene des Macbeth mit den Hexen im dritten Akt, in dieser Inszenierung als inneren Monolog gestaltet, wahrlich beeindrucken konnte. Auch die grosse Schlussarie «Pieta, Rispetto, amore» schaffte es beinahe Mitleid mit diesem blutrünstigen Charakter zu erwecken.
Côté régie, le célèbre patron de la Komische Oper de Berlin, Barrie Kosky, propose une vision particulièrement sombre et noire de Macbeth, au propre comme au figuré, avec un plateau dénué de tout élément de décor et plongé dans l’obscurité. De simples faisceaux lumineux formant une ligne de fuite vers le fond de la scène, et un abat-jour sous lequel les deux protagonistes se réfugient la soirée durant, sont les seules sources de lumière en même temps que les seuls éléments scénographiques – si l’on excepte quelques chaises qui servent également de perchoir à des corbeaux. Des oiseaux, ou plutôt leurs cadavres, que l’on retrouve sur le corps inanimé de Macbeth pendant que résonne l’ouverture, qui voit aussi une masse compacte de corps nus (les sorcières) émerger des ténèbres du fond de la scène, pour se rapprocher progressivement, à pas lents, vers le héros (photo), et l’engloutir de leurs corps flasques (parmi lesquels de nombreux transsexuels ou personnes âgées). Les chœurs (magnifiques !) sont eux cachés en coulisse, pour mieux mettre le couple damné au centre de l'action, de même que cette masse informe de corps obscènes, que les éclairages de Klaus Grünberg rendent encore plus fantomatiques. Une vision glaçante et mortifère, tout en visions cauchemardesques, qui dit et répand la solitude et le néant.
After the first act, a murmur goes through the audience. Manuel Schöbel, director of the Landesbühnen Sachsen, steps in front of the curtain. Is there a cancellation? Relief after the first words. The Slovenian tenor Aljaz Vesel, Duke of Mantua in Verdi's opera "Rigoletto", is indisposed and still gets through the role. His role includes the best-known hit of the piece "La donna è mobile", German "O how deceptive women's hearts are". Despite some height problems, Vesel masters the challenge more than adequately.
On 20 January, at the Teatr Wielki – Polish National Opera, for the 68th time, a poster featured a production of Giuseppe Verdi's "Rigoletta" directed by Gilbert Deflo, which is over twenty years old. The performance is modeled on the production of La Scala, which premiered in 1995, which means that the costumes and set design are a copy of those from the Milanese performance, adapted to the size of the stage of the Polish National Opera. "Rigoletto" Teatr Wielki – Polish National Opera, photo: Krzysztof Bieliński During the twenty years of "Rigoletta's presence" on the Warsaw stage, the cast has seen a whole galaxy of stars, ranging from Andrzej Dobber, Agnieszka Zwierko and Artur Ruciński, to guest performances by Piotr Beczała and Aleksandra Kurzak, which electrified the Warsaw audience. Today, alongside well-known singers, the rising stars of Polish vocalism debut, bringing youth and a breath of freshness to this patina-covered realization. "Rigoletto" Teatr Wielki – Polish National Opera, photo: Krzysztof Bieliński Warsaw's "Rigoletto" is aging with class. Monumental, decorative decorations, the change of which is so complicated that a dozen or so minutes after the start of the performance, one of as many as three twenty-minute breaks is needed, are made with reverence and attention to detail. The sumptuous palace of the Duke of Mantua, elaborate costumes referring to historical costumes from the era allow you to plunge into the magical world of theater that many viewers yearn for today. While the modernized regietheater productions are becoming a thing of the past after only a few or a dozen performances, classic productions such as "Rigoletto" or "Nabucco" have been attracting crowds thirsty for a faithful libretto, a scenographically rich performance, for years. "Rigoletto" Teatr Wielki – Polish National Opera, photo: Krzysztof Bieliński The attraction of this year's series of performances was also a cast consisting of proven singers who have been performing their roles for years and young adepts of the profession, who managed to create memorable vocal and acting creations. Andrzej Dobber was, as always, excellent – especially in the scene of begging for his daughter's devotion, and Aleksandra Kubas-Kruk captivated with a beautiful, shiny, lyrical timbre of voice and fervor of interpretation. Tadeusz Szlenkier confirmed his position as one of the leading Polish tenors, and his noble-sounding voice captivated in the famous aria of the Duke of Mantua La donna è mobile. "Rigoletto" Teatr Wielki – Polish National Opera, photo: Krzysztof Bieliński Iurie Maimescu, a native of Moldova, cursed with the right power, and Łukasz Konieczny in the role of Sparafucil fantastically conveyed the character of a paid murderer. A lot of good can also be said about Anna Bernacka and Elżbieta Wróblewska, who perform as Maddalena and Giovanna. Particular praise was deserved by young singers performing in supporting roles, but attracting the viewer's attention with their vocal skills and stage freedom. Currently studying at the prestigious Juilliard School and winning further awards in vocal competitions, Hubert Zapiór (Marullo) is a very talented baritone, who is additionally helped by acting skills gained at the Warsaw Theatre Academy. As Countess Ceprano, Bożena Bujnicka delighted with her beauty and voice, whom earlier this season I could admire in "Orpheus and Eurydice" in Lublin, and in the role of the count he became known as a very promising young bass Jasin Rammal-Rykała. "Rigoletto" Teatr Wielki – Polish National Opera, photo: Krzysztof Bieliński Patrick Fournillier is a conductor who works very well with singers and the performance under his baton could satisfy the most demanding opera lovers musically.
